Sergei Chipenko was born on July, 3 of 1961 in a
small, but very beautiful Bashkir town Sterlitamak. His father is a professional
bayan player who has been working as a principal of the music-school for many
years. As it often happens in the families of musicians, his son’s future was
predetermined.
The 5th-years-old Sergei began to make himself
familian with the vocal ABC in the choral studio, and later he started the
music-school, piano. The talent of the young musician were appreciated at its
true value and with the purpose of more effective development of his talents the
9year old pianist was taken from his family and put further education to the
central music-school in the city of Ufa.
Being put to the
class of Alexander Davydovich Frank and having finished the music-school with
excellent marks, Sergei acquired the richest professional basis which stands him
in good stead until today.
Since childhood Sergei Chipenko’s way lighted by the stars. Alexander
Davydovich Frank being the graduate of the Moscow Conservatory, the class of prof. Konstantin Nicolayevich
Igumnov, who was Sergey Vasilyevich Rachmaninov’s friend and companion was proud
of his diligent student, and he introdused Sergei to his friend Svyatoslav
Theofilovich Richter.
It seems natural that either a beginning musician, or the acknowledged
one would consider the opportunity to make acquaintance with such a great
composer as Rodion Konstantinovich Shedrin, a real wonder. Once Shedrin visited
Ufa and took alay with him one of his newly composed pieces. Frank introduced
the wonderchild to Shedrin and it was for the 1st time that Shedrin’s
prelude &
fuga la-major was played at the concert by the pupil of the Central music-school
of the town Ufa, Sergei Chipenko.
Soon after that Sergei also met Dmitri Dmitriyevich Shostakovich and had
a chance to play the prelude &
fuga re-minor for him. That was an unforgettable experience!
After finishing school Sergei continued to study as
Prof. Alexander Davydovich Frank’s student. After graduating from
the institute he stayed to work there as a teacher. But that couldn’t last long,
because Sergei already saw that he was predestined
to become a creating and playing musician rather than a teacher of music.
It was an ufterly new for percepting and a bit hard for the Soviet mentality
music that helped Sergei to find himself. Having determined the jazz rock style
as basic for himself, Sergey started moving in that direction. That was just how
the academic musician went into jazz rock, the precedent having caused the
puzzlement and misunderstanding on the part of his friends and
colleagues.
To become a musician and play the improvisation music, a man should be a
composer in his soul. First of all it’s his attitude to life. Having felt inside
himself the need to express the image of the spring sun and all his previous
impression in music, Sergey began to compose.
Having
already worked in the Ufa Arts college for some time, Sergei made up his mind to
start doing samething of his own and to play his music with his musicians. He
started with his friend Yuri Aimurzin in 1989. That was how the “Trans-Atlantic”
came to life.
A well-known
produser Pavel Melnichenko gave Sergei and his friends an advice to turn to the
Russian Dramatic Theatre. The theatre director Vyacheslav Strizhevsky met the
young musicians with understanding and offered them a studio for rehearsals,
that turned out to be a decisive step for Sergei, as he realized that theatre
was his destiny and he stayed in it walls forever. Moreover, at that time it was
a sign of fashion and prestigue for any musical group to stay under the
theatre'swing and to be an equal participant of the troup and not jast a
“backpround” band... The general director of the
theatre, Michail Isakovich Rabinovich invited “Trans-Atlantic” to take part in
the performance “What Kind of Life
That is!” The “Trans-Atlantic” musicians acted in about 200 plays. And the
number of the plays could be greater if not the sudden change of
place... (Continuation
follows)
ссылка на "Джаз.Ру"